French's International Copyrighted (in England, her Col- 
onies, and the United States) Edition of the 
Works of the Best Authors 

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No. 435 



"HIS SOUL" 



A FARCE IN ONE ACT 



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BY 

ELEANOR MAUD CRANE 



Copyright, 1922, by Samuel French 

Amateurs may produce this play without -payment of 
royalty. All other rights reserved. 



Price 30 Cents 



New York 

SAMUEL FRENCH 

Publisher 

28-30 West 38th Street 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



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THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2% hours. 

This is a genuinely funny comedy with splendid parts for "Aunt 
Mary," "Jack," her lively nephew; "Lucinda," a New England an- 
cient maid of all work; "Jack's" three chums; the Girl "Jack" loves; 
"Joshua," Aunt Mary's hired man, etc. 

"Aunt Mary" was played by May Robson in New York and on tour 
for over two years, and it is sure to be a big success wherever pro- 
duced. We strongly recommend it. Price, 60 Cents. 



MRS. BUMSTEAD-LEIGH. 

A pleasing comedy, in three acts, by Harry James Smith, author of 
"The Tailor-Made Man." 6 males, 6 females. One interior scene. 
Costumes modern. Plays 2J4 hours. 

Mr. Smith chose for his initial comedy the complications arising 
from the endeavors of a social climber to land herself in the altitude 
peopled by hyphenated names — a theme permitting innumerable com- 
plications, according to the spirit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 



MRS. TEMPLE'S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and Wil- 
liam Morris. 5 males, 4 females. One interior scene stands through- 
out the three acts. Costumes modern. Plays 2}/2 hours. 

"Mrs. Temple's Telegram" is a sprightly farce in which there is 
an amndance of fun without any taint of impropriety or any ele- 
ment of offence. As noticed by Sir Walter Scott, "Oh, what a 
tangled web we weave when first we practice to deceive." 

There is not a dull moment in the entire farce, and from the time 
the curtain rises until it makes the final drop the fun is fast and 
furious. A very exceptional farce. Price, 60 Cents. 



THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of "Tempest and 
Sunshine," etc. Characters, 4 males, 7 females, though any number 
of boys and girls can be introduced in the action of the play. One 
interior and one exterior scene, but can be easily played in one inte- 
rior scene. Costumes modern. Time, about 2 hours. 

The theme sj this play is the coming of a new student to the col- 
lege, her reception by the scholars, her trials and final triumph. 

There are three especially good girls' parts, Letty, Madge and 
Estelle, but the others have plenty to do. "Punch" Doolittle and 
George Washington Watts, a gentleman of color, are two particularly 
good comedy characters. We can strongly recommend "The New 
Co-Ed" to high schools and amateurs. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

New and Explicit Descriprlve Catalogue Mailed Free on Regueat 



i6 



HIS SOUL" 



A FARCE IN ONE ACT 



BY 
ELEANOR MAUD CRANE 



Copyright, 19:22, by Samuel French 

.linatcurs may proditcc this f>lay without payment of royalty. 
All Other Rights Reserved 



New York 
SAMUEL FRENCH 

Publisher 
28-30 West 38th Street 



London 

SAMUEL FRENCH. Ltd. 

26 Southampton Street 

Strand 






^'^^ A,^^ 



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"HIS SOUL," a farce in one act by Eleanor Maud 
Crane. 2 males, 2 females. Modern Costumes. 
Plays 30 minutes. 

Jack Burrows, artist, has little by little given up 
his work after scenes with a young and jealous 
wife over his various models. At present he is busy 
with an order from a cigar firm, an Indian figure, 
into which he has ])ut his whole soul. The statue 
comes to life and declares she is "His Soul." The 
scenes that follow are the outcome of this unusual 
and amusing situation. Price, 30 cents. (No roy- 
alty.) 



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CHARACTERS 

Jack Burrows An Artist 

Betty Burrows His wife 

Bob Lindsev His best friend 

Wanda His Soul 

Scene: Studio iu Jack Burrows' apartment, Nezv 
York City. 

Costumes: Modern. 

Time : The present. 



"HIS SOUL" 



Scene: Studio in Jack Burrows' apartment, New 
York. Doors d.l. and u.r. Odd pieces of 
quaint furniture, rugs, lamps, sketches, etchings 
and Jialf-finished plaster casts in artistic con- 
fusion. Desk D.c. Open fire l.c. Couch cov- 
ered zvith oriental drapery. Model of an Indian 
maiden mounted upon pedestal and covered with 
ivhite sheet u.c. Telephone on desk. 

Time: Five o'clock in the afternoon. 

Season : Mid-winter. 

(Enter Betty Burrows r.u. SJie tip-toes into room, 
looks about, finds no one present; crosses room 
quickly and examines several pictures and 
sketches that lie scattered upon the desk. She 
compares them, frowns angrUy, tosses them 
aside, si)iks into chair by desk and hursts into 
fears. Enter Jack Burrows d.l., calling — ) 

Jack. Betty. Betty, I say, Bet (Stops short 

upon seeing Betty /;; tears and ejaculates) Oh, 
thunder ! 

(Betty continues to sob witJiouf lifting her head. 
Jack slowly remoi'cs coat and hat; looks at 
Betty and starts as if to speak to her. Slaps 

5 



6 HIS SOUL 

gloves together in annoyed fashion. Then with 
a sigh draws himself up determinedly, rams 
gloves into pocket and goes to Betty. He stands 
hack of her chair. Bends over her and draws 
her hands down from her face.) 

Jack. Betty ! 

Betty. (Tries to release her hands) Let me 
alone. 

Jack. (Laughs lightly) Why. Betty girl, what's 
the matter? 

Betty. (Still struggles to free hcrslf) Don't 
speak to me, you — you — brute ! 

Jack. What a terrible accusation! Come, little 
girl, tell me what's it all about? 

Betty. (Springs up and faces Jack tvith flash- 
ing eyes) How — how dare you treat me so? I 
won't stand it, I tell you. I — I'm going home and 
I'm going now. (Crosses stage, seats herself, puts 
her elbow on chair-back and buries her face in the 
curve of her arm and bursts into sobs.) 

Jack. (Scozvls as he paces floor a couple of 
times, then turns and stands before Betty) If you 
will just tell me what this row's about 

Betty. (Lifts her head quickly) What are our 
rows ever about? 

Iack. (Shrugs his shoulders) Heaven knows. 
I don't. 

Betty. (Furiously) That's a lie and vou know 
it! 

Jack. (Smiles) Pretty strong language, little 

girl. 

Betty. (Stamps her foot indignantly) Stop 
calling me "little girl." 

Jack. Certainly, big girl. 

Betty. \r\(\ stop ridiculing me. I'm in earnest, 
I tell vou. horriblv in earnest. 



HIS SOUL 7 

Jack. If you'll only explain what it all means. 

Betty. (Catches up several sketches and holds 
them at arm's length ) It means that — and that — 

and that (Thro^vs pictures one h\ one at his 

feet) 

Jack. (Picks up sketches and speaks slmvly) 1 
understand. 

Betty. Well. I don't. What you find to rave 
about in that stupid-looking creature is beyond me. 
Seven sketches, if you please, seven brand new 
sketches. 

Jack. (Earnestly) Betty, can't you see 

Betty. (Interrupts him and speaks sarcastically) 
Oh, yes. I see. I'm not blind. No man could pos- 
sibly make seven sketches of the same girl unless he 
was just crazy about her. 

Jack. You married an artist, dear. 

Betty. I married a man. At least I thought I 
did. What I really married was a great big. selfish 
brute, who makes love to other women behind my 
back. 

Jack. (Indigruinily) Betty! 

Betty. I won't stand it. I won't. T won't. I 
won't. So there ! (Catches up sketches, tears them 
in halves and throws them into scrap-basket ; bursts 
into tears and rushes from room.) 

Jack. Betty! (Starts to folloic her. IVhen he 
readies door, stops, exclaims) I'll be hanged if I 
do! (Cioes to basket, takes up tc^ru sketches, tries 
to piece them together. Mutters impatiently. ) Con- 
found it! (Thrusts papers back into basket. Sinks 
wearily into chair by desk and leans forzvard, utterly 
disheartened. For a few seconds there is absolute 
silence. He rela.ves a)\d dozes. Enter Boi; Lind- 
SEY briskly.) 

Boi'.. (Looks about ) Jack, I say. Jack! 



8 HIS SOUL 

Jack. (Rouses with start) Oh, oh, Bob! That 
you? 

Bob. (Looks at jack in surprise) Hello! What's 
up? 

Jack. (Bitterly) Everything. Bob, if you ever 
think you'd like to get married, buy a rope ! 

Bob. (Surprised) What? Why, Betty's an an- 
gel! 

Jack. Yes, and my life's a hell. 

Bob. (Shakes his head, mystified) Come again, 
old chap, I missed connections. 

Jack. Did you ever marry a jealous woman ? 

Bob. (Smiles as he shakes his head) No, I think 
not. 

Jack. (Paces fioor) To-day we had another 
little scene. The fiftieth this week and this is only 
Tuesday. 

Bob. (}Iis hand on Jack's shoiddcr) -My dear 
boy, humour her a little. She's only a girl, you 
know. 

Jack. Humour her? Why, man alive, I've done 
nothing else but humour her. Gave up my miniature 
work. Why ? She objected to the sittings. Dropped 
all my illustrating. Why ? A row over my best 
model. Cut out all my mural designing. Why? 
Why? Why? Same old story. I can't (lo still life 
and I won't do landscapes. Do you know what I'm 
reduced to? A wooden Indian for a cigar store. 
Oh, you needn't laugh. I mean it. We've got to 
eat and I prefer to eat in peace, if possible. (Goes 
to model stand and removes cover. Slum's Bob the 
motionless fic/ure of an India)} girl in rather a strik- 
ing pose.) Look at it! To think that T — I have 
come to this. 

Bob. (Takes a step forward and looks at statue 
7cith admiration) By George, .she's ripping. She — 
she — why, man, she's got soul. 



HTS SOUL 9 

Jack. Of course she's got soul. ]\fy soul. She's 
all I've got left. I tell you. and I've put my whole 
heart into her. A wooden Indian. 

Bob. (Awestruck) A wooden Indian. I never 
knew a wooden Indian could look like that. (Ex- 
citedly. ) Why — why — Jack she — she hreathes. 

Jack. (Prepttres to replace coi'er) Don't he a 
fool. 

BoR. (Catches Jack's arm) Lnok — look at her. 
By Jove, no wonder Betty was jealous. I'd be jeal- 
ous of that myself. She — she 

(Tiic hidian statue Jiffs its head. Both men start 
hack in alariii. Slo'wiy tJie Indian raises its 
hands liigli aiurc'c its head as if throzving off re- 
straint, then claps its Jtands behind its head and 
draws in a deep full breath. Men clutch eacJi 
other in open-moutJied astonisJiment. Slowly 
the statue turns its liead towards them and 
smiles.) 

Bob. (JVitJi chattering teetli) Gr-re-reat Scott! 
(The statue looks about shm'ly and deliberately steps 
down from pedestal. ) 

Jack. (Clutches Bon's arm) Tell — tell her to — 
to — to stop. 

Bob. (Gets behind Jack and tries to push him 
forward) Tell her yourself you — cow — cow — cow- 
ard. 

Jack. (Tries to speak bravely, but not succeed- 
ing) Pooh. I — I — I'm not afraid. (Goes tozvard 

Indian.) Miss (Staggers back as Indian turns 

quickly tozvard him.) I — I mean Madame. I — I — 
you — I— who the deuce are you, anyway? 

Wanda. (Lifts her hand slozvly and points one 
finger at Jack^ Your soul. 

Jack. (Starts back then recovers himself) Now 



TO HTS SOUL 

— now see here. That — that's all rot. (Looks about 
suddenly.) Where in blazes did you come from? 

Wanda. (Lifts hand, palm outrvard) Great 
Chief. Me Wanda. Last of race. Your soul. 

Jack. (Nervously) But I say. that — that's all 
very pretty, but it isn't true. T — I can't have strang-e 
young savag-es er — er — walking about my studio and 
er — declaring that they're my soul when — when 
they're not. 

Wanda. (Folds her arms ivlth dignity) Wanda. 
Your Soul. 

Jack. (Angrily) But I tell you, you're not. 
You're not. I haven't any soul. I never had a soul. 
And by George, if I had it wouldn't look like you. 

BoR. (Doubles up 7cifh laitglifer) Your soul. 
Gee ! That's great ! 

Jack. (To Bobj Shut up or I'll break your head. 
Shut up, I say, and for the love of Mike tell me what 
to do. She can't stay here. 

Bob. And how do you propose to get rid of — of 
your affinity? 

Jack. (Worried) Cut that. Bob, help me. can't 
you? What if Betty should come in? She'd raise 
Cain. 

Bob. Can't say I'd blame her under the circum- 
stances. 

Jack. (Firnily) She's got to go, that's all there 
is to it, and the quicker the better. (Turns to Wan- 
da, who has bee)} standing motionless.) Look here. 
Miss— Miss 

Bob. (Teasingly ) Soul. 

Jack. (Angrily to Bob) W' ill you shut up ! (To 
Wandaj You — I'm very sorry and all that, but you 
can't stay here. You can't really. 

Wanda. (Bows submissively) My chief has 
said. 

Bob. Her chief! Great Scott ! 



HIS SOUL II 

Jack. (To Wandaj And once and for all get 
this. I'm not your chief. Understand? I'm not 
your chief. I'm a man. A plain white man. I'm 
married. Married. You hear? I've got a wife. A 
squaw. A wife. 

Wanda. (Boxving wifJi crossed arms) Wanda — 
Slave. 

Jack. I don't want a slave. What in blazes 
would I do with a slave? 

Wanda. (Kneels and touches floor zvifJi her fore- 
head) Wanda dust beneath her chief's feet. 

Jack. (Indignantly) Now see here, you stop 
that. Get up. Confound it, get up, I say. (Wanda 
rises slowly.) And stay up. Now go. (]ack points 
to door. \^'■ANDA hows her head and moves fozvard 
exit. ) 

Bob. (Steps forward) Look here. Jack, you can't 
send her out like that. It's mid-winter! She'll 
freeze. 

Jack. Stop butting in. She can't stay here and 
that's all there is to it. 

Bon. She can't go that way. Here. I'll ask Betty 
to lend her a cloak. (Starts toward door.) 

Jack. (Catches BoB^s arm) No, you don't. If 
Betty hears of this I'm done for. Shut that door 
quick. 

Bob. (Closes door and walks about as if in search 
of inspiration) There's a couch-cover. That's bet- 
ter than nothing. (Catches up cover and takes it to 
Wanda.) Here — you — you soul thing-um-bob, put 
this around you. 

Jack. (Looks nervously over shoulder) And go. 
For heaven's sake, get out. 

Wanda. (Wraps couch-cover Indian fashion 
about her shoulders) I go, my chief. 

Bob. (As Wanda starts zvith dignity toward 
door) Wait a minute. Where are you going? 



12 HIS SOUL 

Wanda. Wigwam. 

Bob. That's all very fine, but wigwams don't grow 
on Park Avenue. You're more likely to land in the 
police station. 

Jack. I don't care a hang where she lands. 

Bob. You'll care to-morrow when you see it in 
the papers. Headlines — big, black — no yellow ones. 
Jack Burrows' Soul arrested for vagrancy. 

Jack. (Scoivh, Jiis hands deep in his pockets) 
You've got such a nasty way of i)utting things. 

Bob. I don't put them. They're already put. 

Jack. Can't you get her into a Home of some 
sort? You know what I mean. There must be some- 
thing of the kind for such cases. 

Bob. (Starts) Big head. That's the first sensi- 
ble word you've spoken. (Goes to phone on desk 
and takes down receiver.) Hello. Information. Yes. 
Information. What would we poor benighted mor- 
tals do without the telephone? "It settles our prob- 
lems. It lightens our cares. It's a boon to mankind. 
When he's caught unawares." Hello. What num- 
ber do I want. Look here, this is the limit. I ask 
for Information. Information. Get me? You 
bluitdering idiotic — What's that ? Oh, I wasn't talk- 
ing to you. No. No-o-o. Oh, no. I simply asked 
of you the goodness to kindly condescend to ascer- 
tain if Information is engaged. Of course if she is 
don't disturb her. T can wait. I'm used to waiting. 
Oh, Information. Can you tell me the proper place 
to send lost souls? Wait. Don't shut me ofif. I'm 
on the level. It's a girl. A girl. Yes. No, no, not 
a baby girl. A young girl. I don't know how old. 
T — I don't like to ask her. I don't know where she 
came from luit she's here and she can't stay. We 
can't turn her out into the street. She hasn't any 
home. No. No. Yes. Yes. Yes. Yes. Yes. 
(Listens a second.) Oh. all right. Thanks. (Hangs 



HIS SOUL 13 

up receiver and turns from phone much pleased.) 
Well, it's all right. She's going to find out what 
we'd better do and let us know the first thing in the 
morning. 

Jack. (In dismay) Morning? Morning? 

Bon. That's what I said. Morning. My dear 
boy, don't look so dumb. 

Jack. What good will the morning do, you 
numb-skull ? Where's she going to stay to-night ? 

Bob. (Runs his Jiand through his hair) To-night? 
To-night ? 

Jack. Yes, to-night. My dear boy, don't look so 
dumb ? What are we going to do with her to-night ? 

(Enter Betty. She advances quickly, catches sight 
of Bob and stops short.) 

Betty. Jack — Oh. I beg your pardon. I thought 
you were alone. 

Jack. (Goes to meet Betty nervously. Bob 
tries to stand so he zvill block out Wanda, zvho has, 
unnoticed by the men, resumed her pose as the 
statue) T am. That is, T was. T mean T should be 
if — if they were not here. But they're going. They 
just ran in for a few minutes but they have to hurry 
right back. 

Betty. (Holds out her hand to BoBJ W1\v. Bob, 
glad to see you. You haven't honored us for a long 
time. (Aside.) Aren't you going to introduce me 
to your friend ? (Aside to Jack. j 

Jack. (Quickly. Indicates WAt^DA) My friend? 
Oh, she's no friend of mine. 

Betty. (Amused with raised hrozvs) You mean 
she's Bob's girl ? 

Jack. (Greatly relieved) Yes. that's it. Bob — 
you understand. Awfully hard hit. poor chap. 



14 HIS SOUL 

Betty. You don't mean it. I must congratulate 
him. 

Jack. (Stands between Betty and BoBJ No. no, 
you mustn't. It isn't announced. His people object 
and all that sort of thing. 

Betty. (Gets a closer look at Wandaj I don't 
wonder. Why, Jack, she — she's an Indian. 

Jack. (Tries to attract Betty's attention from 
Wanda j That's what the row's about. Family 
raising the roof. 

Betty. (Breaks away from Jack and goes to 
Wanda j Why, Jack, how could you play me such 
a trick. It's only that old figure you've been model- 
ling. 

Jack. (Laughs at first nervously then heartily 
as he sees statue is motionless) Fooled you that 
time, Betty. Pretty good joke, eh ? 

Betty. (Indignantly) Pretty poor sort of joke, 
I think. May I ask why all that nonsense about 
Bob and his family? 

Jack. It was so funny. So awfully funny. You 
were so serious and it was so funny. Your expres- 
sion. Best joke ever. 

Betty. I fail to see it. (Exit Betty witJi dig- 
nity.) 

Jack. (Sinks limply into chair) By Jove, that 

was a narrow escape. Just suppose ("Wanda 

takes step forward.) Oh. thunder. (Angrily to 
Wanda.) I.ook here, I've had enough of this. (Re- 
enter BETT^^ Wanda resumes statue pose.) 

Betty. (Szveetly to Jack) Jack. dear. I forgot 
to tell you that Norah has gone out so I shall serve 
tea in here. 

Jack. Why not the dining-room, Betty? 

Bettv. The carpenter's mending the table. Be- 
sides, you and Bob botii prefer the studio. You 
always said so. Didn't you. Bob? 



HTS SOUL 15 

Bob. Sure. No place like a studio for a mess — 
of tea. 

Jack. But it's a bit firauf:^hty to-day, dear. I — I 
don't want you to catch cold. 

Betty. (Laughs) Nonsense! Are you crazy? 
It's as warm as toast. Now I'll get the tray and 
you clear a place. (Exit Betty.) 

Jack. Bob, you blithering idiot, what do you 
mean by encouraging her? We can't stay here. 
What if that — that Soul thing should take it into her 
head to come to life again? 

Bob. (Soothingly) I'll lix her. (Goes to Wan- 
da and speaks zvith determination. W^anda stands 
motionless.) See here! You — you. whatever you 
call yourself. Oh. you hear me all right. You're a 
statue. A statue. Understand? And you're to 
stay a statue. You're not to move or speak while 
that lady (Points off) is in the room. If you so 
much as wink a lash, out you go! Bifif! 

Jack. I tell you, Bob. I can't risk it. If Betty 
should suspect. I'm done for. 

(Enter Betty gayly carrying tray.) 

Betty. Yes. Jack, I'm coming. Are you both 
starved, you poor boys? (She places tray on table 
and proceeds to pour tea.) You really don't deserve 
this after being so horrid, but it was so stupid with 
Norah out and nobody to quarrel with. (Passes 
tea to men, zvho drink nervously, watching Wanda 
whenez'cr thev think Betty is not noticing them.) 
Do you know. Jack, I've made up my mind that 
I've been a great big goose, and I'm going to turn 
over a new leaf. 

Jack. Don't be alarmed. Bob. she turns one over 
every week. 

Betty. (Laughs and nibbles a biscuit) But this 



t6 his soul 

is a really, truly one. I'm never, never, never going 
to be jealous again. Never. No matter what hap- 
pens. 

Bob. Fine! That's something like. Eh, Jack? 

Jack. (Earnestly to Bett^ J You mean it. Bet- 
ty ? Honest ? 

Betty. (Nods firvily) Honest Injun. (Wanda 
starts. Men start up. Betty is busy refilling cup 
aiui doesn't see their friylif. They reseat them- 
selves after shaking their fists at Wanda.) I'm 
never going to be jealous of any girl again. 

Jack. Swear it. 

Betty. (Lifting her liand and looking up) I 
swear. And he shall sketch and draw as much as he 
pleases and have all the pretty models he — he — he — 
(Her zvords come slower and slower as she looks up 
and catches sight of Wanda, who is leaning forward 
and listening intently.) 

Jack. (Looks down at Betty, then turns and 
follozvs her eyes. His voice trembles.) W'hat — 
what's the matter? 

Betty. (Rubs her eyes as if dazed, then looks 
again at Wanda) Nothing. Only — only — why — 
how — how queer. 

Jack. What's queer? 

Bob. (Looks uneasily at Wanda) What's queer? 
I don't see anything queer. 

Betty. (Points to Wanda) The statue! It 
used to be over there — and now (Points to op- 
posite side of room.) 

Bob. (Briskly) And now Bob's moved it over 
here to get a better light. Is that all ? Another cup 
of tea, please. (Holds out cup zvith shaking hand.) 

Betty. (Puccled and not satisfied) But the 
pedestal ? 

Bob. Jack thought it would be more realistic if he 
could make it stand without a pedestal. This way. 



HIS SOUL 17 

Catch the idea? (Takes pose himself. Telephone 
rings. Both men start to answer it and stand tense 
as Betty fakes down receiver.) 

Betty. I'll answer it. dear. 

Jack. You needn't bother, dear. 

Betty. I don't mind. It's probably for me. any- 
way. .(Into phone) Hello. Yes, this is Lenox 
5800. \\'hat girl? Oh, you — you're mistaken. 
You've gotten the wrong number. You want the 
Children's Aid Society. (Hangs up receiver and 
laughs.) Some ridiculous mistake about a home for 
a poor girl, ^^"hat was I saying? 

Bob. The tea. How delicious it is. 

Betty. (Shakes her head tlioughtfiiUy) No, it 
wasn't the tea. Oh, yes. the statue. (Goes to 
Wanda.) What on earth is it doing with my 
couch-cover ? 

Bob. He was trying a new effect. Betty, when 
you came in. East India shawl on a West — that is, 
I mean on a plain Indian. 

Betty. (Looks at Wanda kindly) I shouldn't 
call her a plain Indian. I think she's rather pretty. 
Don't you. Bob ? 

Bob. Oh. I don't know. She's not much to look 
at. Lets talk about something else. 

Betty. (Slozvly zvithoiit taking her eyes from 
W^ANDAJ Do you know, Jack, as I look at that 
statue, it becomes more and more lifelike. It al- 
most seems to breathe. 

Bob. (Catches up couch-cover in alarm and pre- 
pares to cover Wanda) Then don't look at it, 
Betty. It's the worst thing you can possibly do. 

Betty. (Catches Bob's arm ) But T want to look 
at it. To admire it. To let Jack see that I am no 
longer jealous of his work. (Slips her arm around 
Jack's neck. Wanda lifts her head.) Oh, did — 
did you see that? (Excitedly to Bob.) 



i8 HIS SOUL 

Bob. What? I didn't see anything. If 3'ou keep 
staring like that you'll give me nervous prostration. 

Betty. (Azve-struck) It moved. I saw it. 

Bob. (Catches up cup from fable, looks into it, 
smells it, then shakes his licad anxiously.) Jack, 
vou idiot ! You changed cups with Betty. I'm 
awfully sorry, Bet, honest T am. .-Xnd I'll own up 
like a man. I had a little — just a taste — a friend 
gave me and I was going to share with Jack. Just 
a little surprise. And he. like a hoob. passed it on 
to you. who swallowed it without winking an eye. 
You're a sport, all right. Bet ! .\ dead game sport ! 

Betty. (Angrily to Bob) Do you dare to in- 
sinuate that — (Points to teacup) — you put some- 
thing in there that has gone to my head ? 

Jack. Better lie down, dear, and sleep it off. 

Betty. (Indignantly) .Nonsense! I tell you I'm 
all right. It's only that statue. 

Jack. Some people are affected that way. Every- 
thing in the room looks queer to them. Things 
reel. And go round and round. It's awful. I 
know just how you feel. 

Betty. (Quickly to Jackj Oh. you do. eh? 

Jack. Yes. Bob told me all about it lots of 
times, haven't you^ Bob? (To Bob, ivho is staring 
at Wanda) Say yes. you boob! 

Bob. (Absently) Yes. you boob. 

Betty. (As Wanda turns her head and looks_at 
Jack) There, there, don't you see it? 

Jack. See what? 

Betty. (Appeals to Bob) You see it. Bob' 
You must see it. Now — now — there ! She puts 
her hand to her head. Now she is walking across 
the room. Now — now ! (Points troubling finger 
at Wanda, ly.'ho has crossed stage.) 

Bob. (Shakes his head sadly) Poor Betty ! And 



HIS SOUL 19 

to think it's all my fault. Hadn't you better rin^ 
for a doctor, Jack ? 

Jack. (Firmly) No. walk her up and down 
briskly until the effect wears off. (Takes Betty's 
arm.) You take the other arm, so ! Now walk. 

(Jack and Bob hold Betty's arms firmly and walk 
up and down briskly while she struggles in vain 
to release herself. She manages to watch Wan- 
da, ivJio stands viewing the proceeding zuith 
folded arms.) 

Betty. (Breathlessly) I tell you there is nothing 
the matter with me. The room doesn't go round. 
Noth — nothing goes round. You — you are all right. 
Jack. Bob's all right. It — it's only that — that 
statue. Let — let me go. (Struggles, panting) 
Stop — stop, I tell you ! You'll kill mc. Stop, I say ! 
Stop ! (With a sudden wrench she frees herself and 
rushes to Wanda. She gazes at her a second and 
slozi'ly gasps) Why — why, she isn't a statue at all. 
She — she's a woman! A live woman! (To Bob) 
What is she doing here? (To Jack as Bob szval- 
lozvs hard but cannot speak) What is she doing 
here? (Jack opens his mouth several times but no 
words come.) What is she doing here? (Stamps 
her foot angrily.) Speak! Speak, I say! Tell me. 
(To Wanda, as no one answers) You? You tell 
me. Who — who are you? 

Wanda. (Lifts her hand and points to ]ack) His 
Soul. 

Betty. (Aghast) His — his Soul? (Looks from 
one to another as if seeking a clue, then breaks into 
hysterical laughter.) Oh, that — that is too much! 
His — his Soul! And I — I swore never to be jeal- 
ous again. I — and all the time (Points with 



20 HIS SOUL 

trembling finger to Wanda while she struggles to 
keep back tears.) His — his Soul 

Jack. (Miserably) Betty, listen to me. Let me 
explain. Be reasonable. Be calm. 

Betty. Calm. Reasonable. I — I'm to be rea- 
sonable, am I — and — and calm? (Looks Jack up 
and down coldly.) So you lied to me. Told me 
stupid, clumsy, man lies and thought you'd fooled 
me. Thought you'd make me believe that I — that — 
(Points to teacup) — that — that had gone to my head. 
(Clasps head.) Oh. my poor head! (Suddenly 
calm.) Well, what have you got to say now? (To 
Jack, 7C'/to stands miserably silent. Then to Bob) 
And you? You? W'hat have you to say? Go on. 
I'm ready. Listening. Dumb, too, eh? (Appeal- 
ingly to Jack) Say something, anything. Say she 
is not — not that thing she calls herself. I'll believe 
you. Can't you see I want to believe you. Jack? 
(Extends her arms toward him.) 

Wanda. (Softly, lifting her arms) Jack! 
(Jack turns softly as if hypnotized and moves 
dazedly toward "\\'anda.) 

Betty. (Utters a loiv cry) No. no, no! Don't 
go to her. Jack! Don't, I can't bear it. Jack! 

(Jack turns, looks at BETT^■. but makes no attempt 
to go to fier.) 

Wanda. (Smiles and e.vfends both hands) Jack! 

(Jack goes as in a dream, toward \\'AxnA.) 

Betty. (Desperately) Jack! Jack! (Jack 
pays no attention to Bktt\-, but walks slowly past 
her to Waxi).\. .Suddenly the expression on Betty's 
face changes from appeal to desperation and fury. 
She catches up dagger-shaped paper-knife from desk 



HIS SOUL 21 

and rKslirs upon Jack.) Go! Go to her! Go to 
your Soul! Now and forever! 

(Wanda springs foncard between Betty and Jack. 
The dagger falls behveen her shoulders. She 
reels, falls. The stage is darkened a second. 
Bob and Betty exit. Wanda steps back upon 
pedestal. Lights are turned on full. Jack is 
seated in chair by table, asleep. Enter Betty 
with tea-tray.) 

(Betty stands a second sinili)ig dozvn at Jack. 
Places tray quietly on table and her hand on 
Jack's shoulder.) 

Betty. Jack ! Jack, dear, how long have you 
been asleep ? 

(Jack lifts his head, dazed. Then startled, runs his 
hand through his hair. Rubs his eyes. Looks 
up, sees statue, rushes to it e.reitedly.) 

Jack. Wanda ! 

Bettv. (Watches him, amused) Jack! You 
ridiculous boy ! Dreaming^ still ? 

Jack. (Hoarsely) Where — where's Bob? 

Betty. Bob? T don't know. Were you expect- 
ing him ? 

Jack. (Turns, looks at statue and shakes his 
head) By Jove! If that isn't the limit! 

Betty. How funny you look ! Do brush your 
hair. It's all on end. 

(Enter Bob.) 

Bob. (Catches sight of BettyJ Hello, Betty! 



IMS SOUL 

There's an cxi)rcssnian downstairs. Says he's come 
for a statue. 

Jack. What? What's that? 

Betty. (Takes up cover and prepares to throiv 
it over statue) Do you know. Jack. I'm sorry it's 
going. It's such a splendid piece of work. As I 
look at it now it seems to smile hack at me. 

Jack. (^Quickly covers statue) Then for the 
love of Mike don't look at it! 

Betty. Jack is a real artist, Boh. Just see that 
statue. Jack has put into it his whole heart and 
Soul. 

Jack. (Quickly, nervously) Don't, Betty, don't 
you ever mention that word in my presence. 

Betty. (Surprised) What word ? What did I 
say? Really, Jack, you must still he in the land 
of dreams. 

Jack. I may have been asleep. I may have heen 
dreaming. T may be asleep now. But I want it 
distinctly understood that I haven't a Soul. I never 
had a Soul and come what may T don't want a Soul. 

Betty owrf Boi?. Well, upon my soul! 

CURTAN 



DOROTHY'S NEIGHBORS. 

A brand new cnmedy in four act<;. Sy Marie Doran, author of "The 
New Co-Ed," "Tempest and Sunshine,"' and many other successful 
plays. 4 males. 7 fcinalcs. The scenes are extremely easy to 
arrange; two plain interiors and one exterior, a garden, or, if neces- 
sary, the two inferiors will answer. Costumes modern. Plays 2>2 
hours. 

The story is about vocational tr.Tinins. a pnhjert now widely dis- 
cussed; also, the distribution of large wealth. 

Back of the comedy situation and snappy dialogue there is good 
logic and a sound moral in this pretty play, which is worthy the 
attention of the experienced amateur. It is a clean, wholesome play, 
particularly suited to high school production, Price, iO Cents. 



MISS SOMEBODY ELSE. 

A modern play in four acts by Marion Short, author of "The 
Touchdown," etc. 6 males, 10 females. Two interior scenes. Cos- 
tumes modern. Plays 2}4 hours. 

This delightful comedy has gripping dram.itic monienis, unusual 
character types, a striking and original plot and is essentially modern 
in theme and treatment. The story concerns the advetures of Con- 
stance Darcy, a multimillionaire's ycung dauglilcr. Constance cm- 
barks on a trip to find a young nian who had been in her father's 
employ and had stolen a large sum of money. She almost succeeds, 
when suddenly all traces of the yrung ni.in arc lost. At this point 
she meets some old friends who c.re living in almost want and, in 
order to assist them through motives benevolent, she determines to 
sink her own aristocratic personality in that of a refined but humble 
little Irish waitress with the family that are in want. She not only 
carries her scheme to success in assisting the family, but finds 
romance and much tense and lively adventure during the period of 
her incognito, aside from capturing the young man who had defrauded 
her father. The story is full of bright comedy lines and dramatic 
situations and is highly recomrnended for amateur production. This 
is one of the best comedies we have ever offered with a large num- 
ber of female characters. The dialogue is bright and the play is full 
of action from start to finish; not a d"ull moment in it. This is a 
great comedy for high schools and colleges, and the wholesome story 
will please the parents and teachers. Wc strongly recommend it. 

Price, 30 Cents. 



PURPLE AND FINE LINEN. 

An exceptionally pretty comedy of Puritan New England, in three 
acts, by Amita B. Fairgrieve and Helena Miller. 9 male, 5 female 
cTiaracters. 

This is the Lend A Hand Smith College vrize play. It is an ad- 
mirable play for amateurs, is rich in character portrayal of varied 
types and is not too difficult while thoroughly r-leasing. 

Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38th Street, New York City 

Niw aid Explicit Descriptive Catalogue Mailed Free on Request 



BILLETED. 

A comedy in 3 acts, by F. Tninisnn Jesse and H. Harwood. 4 
males, S females. One easy interior scon-. A charmine comedy, 
constructed with uncommon skill, and abounds with clever lines. 
Margaret Anglin's bifj success. Amateurs will find this comedy easy 
to produce and popular with all audiences. Price, 60 Cents. 

NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. .S males, 6 females. 
Costumes, modern. Two interior scenes. Plays 2J^ hours. 

Is it possible to tell the absolute truth — even for twenty-four hours? 
It is — at least Bob Bennett, the hero of "Nothing Rut the Truth," 
accomplished the feat. The bet he made with his business partners, 
and the trouble he got into — with his partners, his friends, and his 
fiancee — this is the subject of William Collier's tremendous comedy 
hit. "Nothing But the Truth" can be wholeheartedly recommended 
as one of the most sprightly, amusing and popular comedies that this 
country cvi boast. Price, 60 Cents. 

IN WALKED JIMMY, 

A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, ';" females (al- 
though any number of males and females may be used as clerks, 
etc.). Two interior scenes. Costumes, modern. Plays 2;^ hours. 
The thing into which Jimmy walked was a broken-down snoc factory, 
when the clerks had all been fired, and when the proprietor was in 
serious contemplation of suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious 
figurf had it not been for his matter-of-fact manner, his smile and 
his evrrlasting humanness. lie put the shoe business on its feet, won 
the heart of the girl clerk, saved her erring brother from jail, escaped 
that place as a permanent boarding house himself, and foiled the 
villain. 

("lean, wholesome comedy with just a touch of human nature, just 
a dash of excitement and more than a little bit of true philosophy 
make "In Walked Jimmy" (me if the most deliehtful of plays. 
Jimmy is full of the religion of life the religion of happiness and 
the religion of helpfulness, and he so permeates the atmosphere with 
his "religion' that everyone is happy. The spirit of optimism, good 
cheer, and hearty laughter dominates the plav. There is not a dull 
moment in any of the four acts. We strongly recommend it. 

Price, 60 Cents. 



MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. T.ippmann. author 
nf the "Martha" stories. 5 males, ,S females. Three interior scenes. 
Costumes modern. Plays 2'/i hours. 

It is altogether a gentle thu.s, this play. It is full of quaint htr- 
mor, old-fashioned, homely sentiment, the kind that people who see 
the play will recall and chuckle over to-morrow and the next day. 

Miss Lippmann has herself adapted her very successful book for 
stage service, and in doing this has selected from her novel the most 
telling incidents, infectious comedy and liuniely sentiment for the 
play, and the result is thoroughly delightful. Price. 60 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 2S-,^0 We, t 3Sth Street, New York City 

Nsw and Explicit Descriptive Catjiogue IMailed Free on Request 



The Touch-Down 

A comedy in four acts, by Marion Short. 8 males, 6 females, but 
any number of characters can be introduced in the ensembles. Cos- 
tumes modern. One interior scene throughout the play. Time, 2J4 
hours. 

This play, written for the use of clever amateurs, is the story of 
life in Siddell, a Pennsylvania co-educational college. It deals with 
the vicissitudes and final triumph of the Siddell Football Eleven, and 
the humorous and dramatic incidents connected therewith. 

"The Touch-Down" has the true varsity atmosphere, college songs 
are sung, and the piece is lively and entertaining throughout. High 
schools will make no mistake in producing this play. We strongly 
recommend it as a high-class and well-written comedy. 

Price, 30 Cents. 

Hurry, Hurry, Hurry 

A comedy in three acts, by LeRoy Arnold. S males, 4 females. 
One interior scene. Costumes modern. Plays 2J4 hours. 

The story is based on the will of an eccentric aunt. It stipulates 
that her pretty niece must be affianced before she is twenty-one, and 
niair t'(i to her fiance within a year, if she is to get her spinster 
relative's million. Father has nice notions of honor and fails to tell 
daughter about the will, so that she may make her choice untram- 
meled by any other consideration than that of true love. The action 
all takes place in the evening the midnight of which will see her 
reach twenty-one. Time is therefore short, and it is hurry, hurry, 
hurry, if she is to become engaged and thus save her father from 
impending bankruptcy. 

The situations are intrinsically funny and the dialogue is sprightly. 
The characters are natural and unaffected and the action moves with 
a snap such as should be expected from its title. Price, 30 Cents. 

The Varsity Coach 

A three-act play of college life, by Marion Short, specially adapted 
to performance by amateurs or high school students. 5 males 6 
females, but any number of boys and girls may be introduced in the 
action of the play. Two settings necessary, a college boy's room and 
the university campus. Time, about 2 hours. 

Like many another college boy, "Bob" Selby, an all-round popular 
college man. becomes possessed of the idea that athletic prowess is 
more to be desired than scholarship. He is surprised in the midst of 
a "spread" in his room in Regatta week by a visit from his aunt 
who is putting him through college. Aunt Serena, "a lady of the old 
school and the dearest little woman in the whole world," has hastened 
to make this visit to her adored nephew under the mistaken impression 
that he is about to receive the Fellowes prize for scholarship. Her 
grief and chagrin when she learns that instead of the prize Robert 
has received "a pink card," which is equivalent to suspension for poor 
scholarship, gives a touch of pathos to an otherwise jolly comedy of 
college life. How the repentant Robert more than redeems himself, 
carries off honors at the last, and in the end wins Ruth, the faithful 
little sweetheart of the "Prom" and the classroom, makes a story of 
dramatic interest and brings out very clearly certain phases of modern 
college life. There are several opportunities for the introduction of 
college songs and "stunts." Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAIMUEL FRENCH, 28-30 West 38th Street. New York City 

Niw and Explicit Dtscriptive Catalogue Mailed Frei ot Request 



LIBRARY OF CONGRESS 




The Return c o 01 7 4oo 944 2 



A comedy in four acts, by Marion Short, author of "The Varsity 
Coach," "The Touch-Down," etc. 6 males, 8 females. Costumes 
modern. One interior scene. 

This comedy is founded upon and elaborated from a farce comedy 
in two acts written by J. H. Horta, and originally produced at Tuft's 
College. 

Hiram Poynter Jinks, a Junior in Hoosic College (Willie Collier 
type), and a young moving picture actress (Mary Pickford type), are 
the leading characters in this lively, modern farce. 

Thomas Hodge, a Senior, envious of the popularity of Jinks, wishes 
to think up a scheme to throw ridicule upon him during a visit of 
the Hoosic Glee Club to Jinks's home town. Jinks has obligingly acted 
as a one-day substitute in a moving picture play, in which there is a 
fire scene, and this gives Hodge his cue. He sends what seems to 
be a bona fide account of Jink's heroism at a Hoosic fire to Jink's 
lionie paper. Instead of repudiating his laurels as expected. Jinks 
decides to take a flyer in fame, confirms the fake story, confesses t(> 
being a hero and is adored by all the girls, to the chagrin and dis- 
comfiture of Hodge. Of course, the truth coines out at last, but 
Jinks is not hurt thereby, and his romance with Mimi Mayflower 
comes to a successful termination. 

This is a great comedy for amateurs. It is full of funny situations 
and is sure to please. Price, 30 Cents. 



J 



une 

A most successful comedy-drama in four acts, by Marie Doran, 
author of "The New Co-Ed," "Tempest and Sunshine," "Dc^rothy's 
Neighbors," etc. 4 males, 8 females. One interior scene. Custumes 
modern. Plays 2}4 hours. 

This play has a very interesting group of young people. June is 
an ap|>ealing little figure, an orphan living with her aunt. There are 
a number of delightful, life-like characters: the sorely tried likeable 
Mrs. Hopkins, the amusing, haughty Miss l?anks of the glove depart- 
ment, the lively Tilly and Milly, who work in the store, and ambitious 
Snoozer; Mrs. Hopkins's only son, who aspires to be President of the 
United States, but finds his real sphere is running the local trolley 
car. The play is simplicity itself in the telling of an every-day story, 
and the scenic requirements call for only one set, a room in the 
boarding house of -Mrs. Hopkins, while an opportunity is afforded to 
introduce any number of extra characters. Musical numbers may be 
introduced, if desired. Price, 30 Cents. 

Tempest and Sunshine 

A comedy drama in four acts, by Marie Doran. .S males and 3 
females. One exterior and three interior scenes. Plays about 2 hours 

Every school girl has revelled in the sweet simplicity and gentle- 
ness of the characters interwoven in the charms that Mary J. ITolmcs 
command' in her story of "Tempest and Sunshine." We can strongly 
recommend this play as one of the best plays for high .school pro- 
duction publishetl in recent years. Pi.cc, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 
SAMUEL FRENCH, 28-30 West 38tli Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free en Request 



